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Camera, Lens and Your Hands

Observing your hands, I can see the traces of your life:
What kind of job you have and for what purpose you use your hands.

X-T20 & XF50mmF2 R WR

The camera and lens in my hand also tell a lot about me.
What kinds of pictures I take—I hate saying I take all kinds of pictures.
Which subjects I gaze at, and which subjects I should take interest in.

X-T20 & XF50mmF2 R WR

I met the X-T20. It is exquisite. As if small and delicate hands tell a story of excellent dexterity. This camera appears to bear a different birth meaning than a younger sibling of the X-T2. Not just a miniaturized version of a good camera, but a camera that can take completely new stories of other leagues. Now I need to find the right lens for this exquisite camera. 

X-T20 & XF50mmF2 R WR

I always work with one prime lens and one camera body.
I endeavor to select the camera and lens to match that work pattern—considering the subject to be photographed and the formative scenes of the background.
The most important considerations when shooting with a single lens is to eliminate intentional out-of-focus and show the effect of compressing color and formative elements. And above all, the balance of the camera and the lens. The lens must not be too large to overwhelm the instrumental force of the camera.

X-T20 & XF50mmF2 R WR

I chose the optimal lens for the job, the XF50mmF2 lens. The image quality at F5.6 clearly shows the ‘compressed beauty’ of the X-T20. It captures the very story that I could have missed in a moment—the most beautiful aesthetics of photography.
Being a mid-telephoto lens, it also brings the feeling of a wide lens.

X-T20 & XF50mmF2 R WR

The camera and the lens are absolute elements for those who work with photography. It’s because the way you look at things and interpret them changes depending on what kind of camera you hold.
The X-T20 and the XF50mmF2. What kind of gaze and story will these two give me? And, what kind of story will you tell me?

X-T20 & XF50mmF2 R WR
About the Author

Kwangmo was formally trained in photography at the Kaywon School of Art and Design in Korea. He was awarded the 13th Young Photographer’s Prize during the Daegu Photo Biennale and a place in the SeMA (Selected Emerging Artists) Support Program from Seoul Art Museum in 2010. In 2010, Mo was also nominated for the Prix Pictet award in France. In his photographs selected for “New Photography in Korea II”, Kwang Mo blurs the line that separates fantasy and reality. He skillfully manipulates his images into semblances of the childhood memories and dreams that people stubbornly cling onto, inviting audiences into timeless, limitless universes, otherworldly spaces that his characters seem more than comfortable in.

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